Greg Aronowitz

Hey, welcome back to the BarnYard! An acre of land tucked away in the middle of Hollywood, where bulldogs roam free & imaginations come to life through the magic of special effects. We’ve created this blog so we can share our day-to-day creative chaos with you in a more real-time situation that our usual BTS video sites. But in typical BarnYard fashion, we will still be trying to load you up with as much “how to” information so you can make what ever we make at home.

Sunday, October 18, 2015

I was told I was too young to see Star Wars when it
premiered in 1977, but I was overjoyed when I discovered it was being
re-released the following year. That announcement was conveyed to me through a
magical image on the local theater marquee, a masterpiece of bright colors and
bold lines, born from collaboration and error (the poster was actually done by
two artists, and a miscommunication led to the original painting be done too
small to fit all the necessary titles, so it was mounted to a larger board and
the extended space was painted in with images of other “flyers” to create the
now infamous “Circus Style” poster.) and to this day, I have a stronger memory
of seeing that art for the first time than actually seeing the movie itself.

Honestly, it is that way for most of my favorite movies. If
the subject of Raiders of the Lost Ark comes up, before I even visualize
Indiana Jones running from the boulder, or Toht’s melting face, my mind goes to
a single image: Indy and Marion standing behind the glowing ark, with vignetted
portraits of allies, foes, and snakes filling out the corners of an iconic
movie poster. When I think of Back to the Future, the first thing that comes to
mind is Marty McFly looking at his watch, his foot in the door of the Delorean,
streaks of fire burning bright orange against the deep blue night sky.As a child, when I saw that one sheet image
with no context as to what the movie was about, I had no idea what it meant.
Except that I HAD to see that movie!

Throughout my childhood (which includes up to right now, by
the way) movie posters were such an important part of the entertainment
experience. They offered a promise of the magic that was about to come, a hint
to the worlds that lie behind the red velvet curtain. Whether it was kismet, or
really good marketing teams, all of my favorite movies had the best posters.
And as my appreciation for this art form matured, I soon realized that all of
those posters were created by the same artist, Drew Struzan.

You may not recognize that name, but you know the art. You
may not even like the same kinds of movies I like, but I can guarantee Drew
created the poster art for at least one of your favorite movies. He has done
hundreds of them, and every one is as breath taking and awe inspiring as the
next. His resume basically reads like a Hollywood hit list: Star Wars, E.T.,
Back to the Future, Indiana Jones, Harry Potter, Shawshank Redemption, Big
Trouble in Little China, Hellboy, The Great Muppet Caper, Coming to America, The
Thing, Batteries not included, Hocus Pocus, if you can think of a film with an
iconic poster, Drew most likely illustrated it.

So it is no surprise that I was completely taken aback this
morning when Disney released the first image of the “official” Star Wars: The
Force Awakens one sheet and it was a photoshop montage! After almost two years
of publicizing how director JJ Abrams begged Drew to come out of retirement to
do the poster, and then teasing us with the magnificent promotional art Drew created
for the film at D23, I was shocked that I wasn’t looking at a hand painted masterpiece from
the man himself.

It was clear that whoever executed the final product
definitely took their cues from Drew’s oeuvre, most likely in the form of
endless comps the artist created to design his version of the poster. There is
an attempt to recreate the daring color palette Drew is famous for, hints of
bold outlines, some blown out highlights…but none of it rings true.

For months, I have been hearing about people exclaiming that
they cried when they saw the new trailer, or almost fainted when they saw a new
character design in toy form. This time around, I haven’t let my guard down to
get that emotionally connected yet. I want to see the movie first before I buy
in 100%. I want to know who these characters are before I fill my shelf with 3
¾” plastic effigies to them. The trailers have definitely shown me that John
Boyega and Daisy Ridley have brought their A-game, but it was seeing Drew’s D23
promo art that really endeared me to them for the first time. It made me want
to go on an adventure with them. Looking at that art allowed me to believe that
“this is going to be great!” And it was for that reason today I actually did
shed tears for The Force Awakens, sitting at my desk, staring at my lifeless
computer at a soulless photo montage movie poster. Tears of utter
disappointment.

Drew's promo teaser art painted for the D23 convention

I was affected so deeply by the decision to use a photo comp
poster over Drew’s art that I actually took the time to write this, and for
those of you who know me or follow me, you know that I NEVER do anything like
this. I have my opinions, as everybody does, but I don’t go plastering them all
over the internet. But I felt like this had to be said. This isn’t about Star
Wars, or Drew, or my childhood. This is about art, American culture, and
Hollywood heritage. This is about tradition and integrity. I’m sure that whatever
reasons where brought up in some big executive round table discussion about why
it was valid to go with photoshop over a painting made perfect sense to those
involved, but why? Why even discuss it in the first place? Why remove the human
element out of such a human story? And if you are hell bent on going with
photoshop, why not make it unique? Why try so hard to make it look like a Drew
painting!?!? He was right there! I know hundreds of filmmakers who would give
anything to have a Drew Struzan poster to accompany their film. I’m one of
them! You had it and you threw it away? But only AFTER you showed us the
possibility of how great Drew’s version would have been with the D23 art? It’s
like serving filet mignon for an appetizer, and hot dogs for the main course.
Like, 99¢ store deadstock hot dogs, not even Carney’s!

How does Disney not realize that a Drew Struzan poster is a staple of Star Wars? Not to mention the fact
that they broke up a set. If there are truly going to be 9 main story Star Wars
films, Drew painted 6 of those posters already. When Lucas asked Drew to create
a new look for the Special Editions in 1996, the artist insightfully composed a
triptych, and then even more cleverly continued the pattern for the prequels,
so the whole series lines up like an adventure map. And now we are expected to
just slap this computerized design, and those to follow, next to his organic
freehand genius? I know I’m ranting now, but I just can’t see the logic. If
Drew had remained in retirement, or “lost his touch”, I could see this
happening, and there would be nothing we could do about it. . But he signed on,
ready and willing, and proved to the world without a doubt that he still “had
it” with the D23 teaser.

I have seen all kinds of posts and comments today, and many
of you are perfectly fine with the poster. Some of you even think it is “awesome”.
All art is subject to opinion, and there is no right or wrong. At the end of
the day, it is all about how the image makes you feel. I am just expressing
that this images leaves me empty. And like a 30 year Star Wars junkie, I so
badly needed a fix. I thought this poster would be it. I thought I would catch
a glimpse of it and instantly know I HAD to see this movie. But instead I saw
noise, a thin imitation, a backpedal on a promise, and my hopes and dreams were
quickly replaced with fear and doubt for what other pitfalls this new film
might have in store for me. The saddest part is that it seemed like JJ and all
involved were trying so hard to respect the original trilogy, practical
effects, design aesthetics, and the majesty of old world artistry. For this
reason alone, and I may be in the minority here, but I feel that going with a
photoshop poster is the most disrespectful thing of all.

I know we live in the digital age, but we have to keep in
mind that a computer is just a tool. I’m not saying its better or worse than a
paintbrush, just that it has its applications and a time and place to use them.
And this poster was not it. There are amazing digital artists out there, but
Star Wars needs a poster illustrator, and Drew is the best. No computer can
bring what he does to his art. The compassion, the spontaneity. The pencil on
paper, the brush in the hand. The splatters, the random squiggles. You can
study a Drew poster for decades and always find new surprises. He doesn’t paint
movie stars, he paints characters. When I look at the new digital poster, I see
Harrison Ford. When I look at Drew’s D23 art, I see Han Solo.

Even for movies Drew didn’t like, he still loved doing the
painting, and you can see that love in the art. You FEEL that love looking at
it. If you don’t believe me, do me a favor and look at the new poster again.
Really look at it. Let go of worrying about having tickets to the opening night
midnight screening, forget about chasing your cat around with your awesome app
controlled BB8. Imaging you know nothing about Star Wars, you haven’t been
cyber stalking Lawrence Kasdan for hints to Kylo Ren’s backstory. Pretend you
are walking past the old one screen theater in your hometown and you catch
sight of it… Do you lock eyes with the characters? Are those spaceship leaping
out at you? Do you feel the colors flowing over you? Are you mesmerized by the composition?
Do you sense there is a greater story just beyond what you see? Does it look
rich? Like a dream? Like no matter how long you stare you can’t figure out how
it came to exist? Do you picture this poster in a very expensive hand carved
frame with UV coated plexi hanging above your couch as you entertain guests 20
years from now? You may see it differently, but my answer to all of the above
is NO. And for that I am very disappointed.

Current marketing trends, with giant photos of actors, and heavily filtered images of objects forming logos, have made the once illustrious art of painted movie posters a breed on the verge of extinction. This art form has always been a part of this franchise, and in many ways Star Wars was the last great holdout for art of this kind. By not following in this tradition, Disney has shown me that they don't really understand or care about what Star Wars is at it's core, and have no concerns about letting such a vivid part of American pop culture die.

I’m certain that the final art Drew meant us to
see is crated away somewhere in the Disney vaults, like the ark at the end of
Raiders. I believe that art is a horcrux, containing a piece of Drew’s soul.
And a piece of my soul, as well as yours and all of us who make up the Star
Wars universe. And until that art is out in the world, that universe can never
be whole.

Even last week, Geek & Sundry challenged me to
create the ultimate Halloween Jack o' lantern, so I made a radio
controlled R2D2 out of a pumpkin!

But now, YOU are in control of my greatest geeky creations! Thanks to Geek & Sundry, I am working on a new show where I will create geeky crafts based on your suggestions! We are getting ready to film, so I need your help! Either in the comments below, or on Twitter with the hashtag #GeekCraftLab, let me know your suggestions for:

(A) Topics: Your favorite geeky things! It could be as specific as a character, prop, location, vehicle, robot, or animal, or as general as the title of a movie, comic, show, or book! Anything you would want to see me build from all of geek lore!

(B) Mediums: You have all seen me use clay, plastics, and resins before. This is where the challenge comes in! Name the craziest material you can think of, and dare me to build something out of it. It can be ANYTHING! I won't even give any suggestions. I want your imaginations to run wild!

Here's the catch: All of your suggestions will be mixed up and one from each category will be randomly chosen. Whatever that combo is will be what I have to build!

So hit me with as many suggestions as you want! Give me your coolest geeky topic, and your zaniest medium! I can't wait to start building! Hopefully I won't be making a Tardis out of porkchops... Although.... #GeekCraftLab

Saturday, August 31, 2013

With the global success of Minecraft, Notch and the gang at Mojang have captured the imagination of gamers everywhere. People have gravitated to dimensional 8-bit world by the millions, and the positive, creative outlet has become a neutral playground for all ages.

Many institutions have taken notice to Minecraft's influence, and welcome it with open arms as a tool for educating, communicating, and inspiring. It was no surprise that the Victoria and Albert Museum in London reached out to Lydia Winters, Mojang's Director of Fun, to see if they could host a Minecraft themed exhibit for their Friday Late program.

Lydia dreamed up an art show where Minecraft artifacts integrated into all of the existing exhibits throughout the museum. Using Minecraft as a familiar point of entry, young minds would find themselves exposed to centuries of amazing art they may have never chosen to explore on their own.

Of course, this meant having to create all of those artifacts. Thankfully, I was the first person she thought of to be involved in such a project. However, knowing that I was busy with a few other things (mainly: Minecon 2013, a couple network television shows, a few independent movies, Floppets, etc.) Lydia opened the conversation by sending me a list of the rooms she wished to have objects for, and offered me first pick of the exhibit I wanted. I, in turn, presented a list of ideas for ALL of the rooms, because, honestly, I would have been excited to make something for any of them! It turns out that Lydia liked all of the ideas, and it was decided that I would be the artist representing Mojang in all of the physical mediums for the "World of Minecraft" exhibit. Ultimately, I created 21 original pieces to be displayed at the V&A.

Photo 1: The Victoria and Albert Museum is the world's greatest museum of art and design. It was founded in 1852, and houses over 4.5 million precious objects. Works from many of the great masters can be viewed here, from early Egypt, ancient Asia, to the Medieval and Renaissance periods, through modern times. As you can imagine, it was a huge honor for me to be able to display my work within these hallowed walls.

Photo 2: I started the project with the most complicated piece, a faux marble statue of Steve and a wolf. I guess it's really a dog, since it has a collar, but "wolf" sounds so much more poetic! Junkboy provided me with 3D models, skins, texture packs, turnarounds, everything I could need to create physical Minecraft characters, but Red5 and I have found that the fastest way to mock-up a Minecraft project is to find a fan made papercraft project online! They are highly accurate, and easy to assemble, so within minutes I can make a concept model for that character I wish to build.

Photo 3: Once I had my design locked in, I used the mock-up to figure out a scale to build the final piece in. By choosing 3/4" pixels, the finished Steve would stand 24" tall. I created a styrene gridded panel the size of the largest area of Steve, which is his torso, at 8x12 pixels. This was then molded, and dozens of panels where cast out of urethane.

Photo 4: Each panel was then marked off by the number of pixels that each sized it to each area of Steve. Then I marked what corners needed to be bevelled in order to have square panels.

Photo 5: I used a dremel with a course grinding wheel, and with some help from the team, ground all the marked corners to 45 degrees. This process results in a lot of fine urethane dust, which clung to the hair on my arms and created an awesome "frozen" effect!

Photo 6: When the panels were bevelled, I began to assemble the "boxes" that make up Steve's parts. I used a small modeler's square to make sure that all of the planes connected at a 90 degree angle.

Photo 7: Because I wanted the final piece to have a monochromatic marble look, I wanted to separate Steve's various colors and features by putting them on different planes. As the game assets all follow a strict pixel dimension, I decided it would be easier to "stretch" the corner pixels of any bumped out area, rather than create a different scaled grid. I achieved this by using styrene tubes as spacers, and then filled the gaps in with Bondo auto body filler.

Photo 8: This technique was most visible on Steve's face, where I inset his eyes and bumped out his nose and hairline. Emulating a stone sculpting process from the past, I set the pupil back further than the white of the eye, so the natural shadow would make the space appear darker. Never having to dimensionalize Steve, this was the first time I came across the controversy concerning the pixels of the lower face. If the pink pixels under his nose represent a lip, do the brownish ones along his chin form a beard, or a smile? Apparently, no one knows for sure, and Junkboy thought it was funny that I didn't know, so I made my best guess, and decided that a beard was best suited for this "ancient" version of Steve.

Photo 9: As much work as it was, assembling the boxes for Steve was the easy part! I found it much more tedious to make all the proper cuts to pose him properly. I started by going back to the paper craft version, and experimenting to get the right angles before committing to cutting the actual resin pieces.

Photo 10: Steve was secured together by gluing the angled pieces together, then dropping 1/2" armature wire through the hollow boxes to create a skeleton. He was then filled with a two part rigid polyfoam, so he ultimately became one solid piece. Now all Steve needed was a sword...

Photo 11: The best part about making the miniature sword for this statue is that it ended up being the perfect size for my Boston Terrier, Print. He's no wolf, but he is much more likely to protect me from Creepers now that he is armed. The version he is holding is the foamcore mock-up I used to make sure I had the right scale before creating the final piece.

Photo 12: I built up the wolf with the same process I used for Steve, and then created a base. The idea was to make a Minecraft inspired version of a classical marble base. I used MDF wood, since it is very smooth, and pretty dense. The weight would help balance the statue and keep the figures grounded.

Photo 13: The final step was painting. The entire piece was sprayed with white lacquer, and then I "marbleized" it. I used a technique I learned many years ago when I did scenic painting for movie sets. It's quick and easy once you get the hang of it. I start with acrylic gel gloss medium, add touches of paynes gray and white, and use a large brush to create streaks that I blend in randomly. By doing this multiple times in layers, it forms a convincing marble effect.

Photo 14: Here is the sculpted clay cover for "The Book of the Nether", or the "Nethernomicon." This was the piece I designed for the museum's library. The category was "medieval books", and I had some ideas for lavishly bound, gold guilded tomes, but I asked Lydia if I could have more fun with it instead. She gave me free reign, so I created this ancient volume of Nether secrets, written in a long forgotten hand, and bound in Creeper hide and wolf fur.

Lydia had mentioned the possibility of a Minecraft art show earlier in the year, but by the time dates were chosen and the red tape was worked out, I had less than a month to create all the pieces. Mojang would have been fine with fewer displays, but they are huge supporters of my work, and I knew Lydia envisioned the experience encompassing the entire museum, so I did my best to make an installation for as many of the exhibit halls as possible. This meant working on multiple pieces simultaneously. I am trying to lay out progress for you here in linear fashion, but in reality, when glue was drying on the statue, I was sculpting on the book. And while this piece was in the mold, I was working on the paintings, etc.

Photo 15: After the sculpture was molded in silicone, three copies were cast. The first one became the front cover. The second one became the back cover, but I cut out the Creeper's eye and mouth pixels, and replaced them with the surrounding full pixels of the third copy. This help me avoid having to sculpt and mold a back cover. The finished castings were primed, and base coated in a dark olive. I then went in with various shades of green and dry brushed the individual scales. I went darker and grayer than the usual Creeper colors, as I wanted the hide to appear dead and tanned. To further this effect, I did a wash of burnt umber, so the deep areas would shadow, and the greens would mute out a bit.

Photo 16: If you are a fan of 80's horror films, you will easily recognize the influence of the Necronomicon from Sam Rami's original Evil Dead. And if you've seen my interpretation of The Anatomy of a Creeper statue from The Museum of Mojang at PAX 2012, you will be familiar with my understanding of what Creeper skin looks like in our world. I drilled holes along the covers, and used a hemp twine to stitch up the edges in order to break away from the "sculpted" feeling. I also sewed up the eyes and mouth, as the last thing I wanted was for this book to come to life in the museum and start biting people!

Photo 17: Everyone knows that ancient books contain hundreds of pages, especially when they are chronicling unspoken tales of the Nether. I didn't have the time, nor the content, to create a huge volume of pages, so I created a large section of false pages. This consisted of several sheets of plywood stacked and glued together, then cut to a dimension smaller than the cover on three sides, but extending out to the spine on one side. I cut a hole in the center to make the overall piece lighter. The styrene dividers in the middle are supports, so the thin styrene sheet I used to cover the hole couldn't collapse in. I used an xacto knife to notch out a strip of styrene like a rake, and dragged it along a fresh coat of Bondo to create the illusion of pages.

Before the top cover was mounted on, I inserted the half dozen paper pages and fastened them down with a brass strip and a series of nails. Red5 printed out a series of charcoal drawings I did onto a parchment paper, and I burned all the edges. The bottom-most page was glued down to the wood block, so you could never turn past it. I'm sure that's where all the secrets are hidden!

Photo 18: The final step was to bind the spine with the fur of a wolf!

Photo 19: For the metalwork room, I dusted off the pickaxe from the Barnyard archives. I wanted all the pieces for "World of Minecraft" to be original, but there is no avoiding how much Minecraft fans love Steve's pickaxe! I figured not everyone has gotten a chance to see it in person, so I added it to the collection.

Photo 20: Armor and swords are a popular theme in the metalwork room of the V&A, so it made sense to pair up the pickaxe with an iron sword. I thought it would be fun to make it slightly more majestic, so this version is covered in silver and gold leaf.

Photo 21: For the Japanese exhibit hall, I got to design a weapon not in the game: a katana! It turned out to be very easy to pixelate this traditional japanese weapon. I went with the same angled pixels as the standard sword, but stacked them in three descending layers. The third, thickest layer became the spine, and the first, thinnest layer became the cutting edge. In addition, I painted each layer a different shade of metal to emulate the folded Tamahagane steel.

Photo 22: The guard was made of layered styrene. If you read my blog often, you know that I prefer sintra over styrene, for its ease of cutting and speed in gluing. But it's not nearly as sturdy as styrene, and I wanted these pieces to withstand shipping and handling to and from the museum.

Photo 23: The katana display also included a sheath. This WAS made of sintra, stacked to echo the shape of the sword so the blade could slip inside. The outside was then covered in Bondo to build up a smooth, slight arc. This was then paneled in a thin wood veneer. The fully assembled piece was stained with acrylics, and coated multiple times in clear lacquer. Red5 built a traditional katana stand, pixelized of course, to house both blade and sheath separately.

Photo 24: Red5 also handles a lot of the Google Sketch-up work around the BarnYard. But when I asked her if she could mod out our Enderdragon model to twist up like a Netsuke, a small Japanese sculpture, she really didn't want to! Sketch-up is an amazing program, but getting it to do curves and multi-axis spirals is like pulling teeth. So I went the low tech, old fashioned way and made a quick clay maquette. I started with 1' and 1/2" blocks cut from plasticine.

Photo 25: I used a small dragon I got in China as a starting point. I know that Chinese dragons and Japanese dragons are two completely different things, but the particular style and pose I was going for is common in both cultures.

Photo 26: Following the maquette made of easily malleable clay, 1" and 1/2" acrylic cubes were cut and beveled to mimic the curves. This proved harder than I thought, but with some struggling and a bandsaw, the end result finally matched the initial plan.

Photo 27: Knowing the massive size of the V&A, I had this fear that any display I made that was smaller than my hand would be swallowed up by all of the surrounding grandeur. To round off the Japanese collection, I added a couple more netsuke for more presence in the room. Here are the completed Ivory Steve (affectionately nicknamed Samurai Steve at the BarnYard) and Jade Creeper, influenced by !8th century Japanese design.

Photo 28: Next project to throw in the mix was the Stained Glass Window. The V&A has an amazing collection of some of the finest stained glass in history, with pieces from churches and nobel houses dating back as far as the 12th century! I think of all the piece I created for this exhibit, the stained glass was the most exciting, because it really was outside the box for Minecraft.

I started the piece with a rough Sharpie on paper drawing of a Minecraft countryside with a farmhouse, a pond, and sheep grazing under an open sky. I added a Mooshroom for color, plus they are my favorite animal in the game. I handed the drawing over to Amish, who created a 3D model of the scene and rendered a full scale version of the drawing, where all of the lines where perfectly horizontal and vertical, and all of the perspective was true.

Photo 29: This art was printed out full size, 24"x48", and spray mounted onto the back of a sheet of 1/8" plexiglass. I then used small strips of stock styrene to "trace" all of the computer generated lines onto the plexi, sealing off all the corners to create segments for the colored glass. I tinted polyester resin to various shades, and poured each segment one at a time.

Photo 30: The entire process was filmed, so you will be able to watch how to make faux stained glass soon on both my channel and the Minecraft channel on Youtube! Of course, my Frenchie, Art, was directing, so it may not all be in focus!

Photo 31: The finished piece! I achieved different glass like textures in the resin by layering it, over or under catalyzing it, or manipulating it while it was gelling. The end result is pretty realistic.

Photo 32: I got a break from all the tedious styrene modeling when I started the painting portion of the exhibit. There were two main areas we where targeting in the museum for this medium: The painting room, of course, and the famed miniature portraits.

I noticed that the miniature portraits seemed to all be displayed in small clusters of varying sized paintings, so I matched that motif with a collection of seven pieces, ranging from 1' to 6".The largest piece was of the main mind behind Minecraft, Notch.

Photo 33: The rest of the collection included Steve, the wolf, a chicken, a pig, a witch, and an Enderman.

Photo 34: The chicken was not happy about the lunch choice that day!

Photo 35: Print, on the other hand, was ecstatic!

Photo 36: Next on the agenda were the large paintings for the painting room. Although this room in the museum houses mostly medieval, renaissance, and Victorian paintings, I wanted to widen the scope of Minecraft and infuse the characters into a broad collection of classic images. I started by replacing the famous figure in Munch's "Scream" with an Enderman.

Photo 37: With all the work done...well, mostly done, the next challenge was packing it all up and getting it to England! While I put the finishing touches on stuff, Red5, Keri, and the gang had bubble wrap and styrofoam peanuts flying in a flurry of cardboard and tape. We ended up getting all 22 pieces of art into 4 boxes and 2 suitcases. Special thanks to Virgin Atlantic, who were very generous in letting me check in all those extra bags at a very reasonable fare!

Photo 38: Getting that pile of packages through Heathrow Airport by myself seemed like the most impossible task in the world, until I got to the hotel and Lydia and I had to get all those giant boxes down super tight, twisty corridors that slowly got narrower the closer we got to our rooms!

Photo 39: My room instantly transformed into an art studio, naturally. With only a few hours to go until the opening of the exhibit, I fought to make the time to finish off the final pieces. The look on Lydia's face when I pulled the blank vase out of the box was priceless. Luckily she didn't notice that the Netsuke Creeper sitting on the desk was still unpainted...

Photo 40: Finally, everything was finished! I got all the pieces to the museum, and the curators divided them up and started arranging them in the various rooms. The museum seemed to be miles long, keeping up with all the pieces was hard. Along the way, I saw Multiplay setting up for the lectures and party outside. It was really fun to see giant Minecraft images standing amidst classic architecture and sacred objects.

Photo 41: Now that the entire exhibit was set up and ready to go, there was finally a moment to breathe. Vu and Lydia where invited to check out one of the museum's modern interactive installations: spindle chairs designed to never fall over, no matter how far you lean back. Basically, they give you that weird sensation of falling when you tilt a chair back to far, but you don't actually fall. It was very weird, but we had a good laugh. After 20 days of sleepless nights and non-stop movement to get here, it was a perfect moment before presenting our work to the world.

Photo 42: The World of Minecraft event opened at 6:30pm, and 5,000 people poured into the museum. Just as Lydia had hoped, the fans were thrilled to see all the Minecraft exhibits, but then also found themselves marveling over the artifacts and masterworks on permanent display throughout the museum. (photo provided by V&A Museum)

Photo 43: Everyone in attendance received a program and a "trail" that lead them to all of the Minecraft artifacts. The stained glass window got a lot of attention.

Photo 45: Also included in the painting room, this is a piece entitled "Cubic Cherubs", inspired by Raphael's Sistine Madonna.

Photo 46: The third painting was inspired by Grant Wood's Modernist work, American Gothic. For my version, I decided to recreate the background verbatim, and turn the elderly couple into Steve and the Creeper.

Photo 47: The videos to come will show more of the exhibits in the museum environment, but I wanted to include a few of my favorite photos from the night. Here, the katana sits among ACTUAL katanas and Samurai armor donated to the museum by Japan.

Photo 48: This image shows the Nethernomicon on display at the front of the V&A library, which is home to such rarities as the original Charles Dickens manuscripts! I imagine there would be a hefty fine for not returning those by the due date!

Photo 49: Last but not least, here is the Steve and Wolf statue in the V&A's great statue hall. It was a dream come true to be able to show my art among such a revered collection. And I am so glad to be part of the Minecraft exhibit. Minecraft fans are so creative, and being able to share my passion for creating with them is truly inspiring. I hope the work I did for "World of Minecraft" has inspired some of them!

Many thanks to Mojang, Notch, Lydia, Carl, Vu, Junkboy, Jeb, and all the entire Minecraft team for making me part of their world. And very special thanks to Ruth, Joana, Kieran, and the staff at the V&A museum for their support in this amazing opportunity.

Let me know if you have a favorite piece in the comments below. And say hi on twitter (@gregaronowitz) or, if you were at the exhibit, share a picture with me on instagram! And don't forget to keep an eye out for behind the scenes videos on my youtube channel!

Greg's Bio

Over the past two decades, Greg Aronowitz has honed his skills as a special effects artist and design specialist by contributing to over two hundred films and television projects. His visual sense and wide-ranging abilities have been called upon by every major studio, and have made him a valuable commodity in the independent circuit. Greg has collected a large library of techniques to suit any size schedule or budget, having worked in every arena from Steven Spielberg to Roger Corman. His ability to deliver a rich visual style for an achievable budget keeps him in constant demand. Most recent film credits include Memoirs of a Geisha, Disney’s Haunted Mansion, Scooby Doo 2, Minority Report, A.I., Castaway, Saving Private Ryan, The X-Files, and Contact. Even on the largest of productions, Greg is often found wearing multiple hats; he has held almost every position on a film crew: From script supervisor to production designer, boom operator to sound design, gaffer to director of photography, producer to director.